William Holden & Stellar Cast in Billy Wilder’s ‘Stalag 17’

William Holden sees the light in Billy Wilder's "Stalag 17" from 1953.

I avoided Stalag 17, despite my admiration for Billy Wilder and William Holden, because I grew up subjected to Hogan’s Heroes reruns, and thought they were basically the same story. I’m amazed that sitcom still has admirers, because even as a little kid, I realized that the show was incredibly sanitized, silly, and worst of all, unfunny. The creator of Hogan’s Heroes claimed there was no deliberate imitation of Stalag 17 from the show. Despite the fact both stories featured a smart aleck American soldier, a dopey German sergeant, and a preening German colonel, with the wiley American POWs always outwitting the inept Nazi captors. Yet, they are different—in terms of quality and depth.

I added Stalag 17 to my list of 2025 classic films to watch that I had never previously seen. And unlike Hogan’s Heroes, I was wowed by these POWs!

"Stalag 17" came out a dozen years before "Hogan's Heroes" aired, but was still more
 gritty and satiric, thanks to Billy Wilder.

Since Billy Wilder directed Stalag 17, it’s no surprise that the story is not watered down. The POW camp comedy-drama is still gritty. Billy Wilder's take on war and its spoils may seem cynical to some, I find Wilder’s outlook realistic. He covered similar themes in 1948’s A Foreign Affair, with John Lund as the soldier/black market profiteer. Stalag 17 is a microcosm of life during wartime.

Considering Stalag 17 is mostly stage bound in a prison barracks, the film is stylishly told. In a nutshell, there’s a rat in the ranks of Stalag 17. Most of his fellow prisoners think it is William Holden’s opportunist. While that plot expertly unfolds, this stage play is perfect for the intimacy of film to focus on the characters, as this is truly a character piece. The way of photographing them interacting or having a solo moment is done imaginatively, so it’s not stagey. The guys get outside enough in the drab prison yard, which it breaks the monotony and brings some drab atmosphere.

Amidst the satire & antics, scenes like this show the grim reality of "Stalag 17."

Stalag 17 boasts a large and diverse ensemble cast. There’s hardly a dud in the bunch. They look realistically lean, scruffy, and dirty. They are quite a mix of personalities and they play their archetypes admirably and entertainingly. Holden’s the star, but Wilder doesn’t make it a star vehicle, he’s part of an ensemble, and Bill leads admirably.

William Holden's willing to barter as the barracks profiteer, in 1953's "Stalag 17."

Wilder's subversive subtext is there in Stalag 17, with the men’s interaction with the Germans and each other. The two groups are always trying to outfox each other. Of course, the Germans are the captors so they have the ball. But the POWs got game.

Did William Holden rightly win the Best Actor Oscar that year? Cast as the lead in an ensemble piece is tricky. Pundits will question whether a star won on their own steam or were they bolstered by the great cast. Bill was on a roll after Sunset Blvd., so it was a popular win and a career Oscar, as well.

William Holden is suspected of being the barracks rat in 1953's "Stalag 17."

William Holden as J.J. Sefton is cynical, Wilder-style. Bill’s Sefton makes the most of his enforced stay at Stalag 17. He’s genial when mixing it up and doing business with the guys, but tough and cynical when it comes to realities of camp life. Holden probably brought some of his ambivalent feelings about studio era stardom to his character’s using his charm to succeed in a corrupt environment.

William Holden won an Oscar as prisoner/profiteer J.J. Sefton in 1953's "Stalag 17."

Even William Holden felt the lead character as the cynical barracks profiteer was a bit too unlikable—and Bill had fought to get away from a decade’s worth of “Smiling Jim” roles in the ‘40s. Wilder got his way, though there is a nudge at the end, when the nice Bill Holden comes out—as he's escaping the barracks!

Otto Preminger’s cool charm is extra sinister for Colonel von Scherbach. Sig Ruman is the clownish Sgt. Schulz, which Hogan’s Heroes later borrowed. Both characters are comic villains, which allow Wilder to satirize them even more.

Otto Preminger, as the charming/creepy Colonel in 1953's "Stalag 17."

Robert Strauss is comic relief, “The Animal,” somewhat like John Belushi in Animal House. And Strauss also seems to have been an inspiration to Brad Garrett’s persona, who came to fame as Robert on Everyone Loves Raymond. Strauss’ “Animal” and partner in crime, Shapiro, are a bit much at times, but Wilder knew the grim premise needed some broad comic relief. Harvey Lembeck, an expert comic actor, is Harry Shapiro, the wise guy/straight guy for “The Animal.”

Robert Strauss goes big as "The Animal" in 1953's "Stalag 17." After one scene with Strauss, I realized where Brad "Everyone Loves Raymond" Garrett got his shtick!

Neville Brand is baby-faced here as sullen Duke, the barracks bellyacher. He’s too good, I wanted Holden’s Sefton to belt him one! Jay Lawrence as Bagradian, one of the new prisoners, was a captivating personality, full of imitations. And why not, he was the brother of F Troop’s live-wire, Larry Storch. Gil Stratton is “Cookie” Cook, who narrates and is Sefton’s wingman. He offers everyman likeability and insight to J.J. Sefton’s personality. Robinson Stone is silently awesome as Joey, the traumatized soldier.

Jay Lawrence (center) is a live wire as the new POW in "Stalag 17."

Robert Shawley is adorable as “Blondie” Peterson and William Pierson very amusing as Marko the Mailman—my gaydar went off for both! Shawley has hardly has any lines, but is right in the mix, and is quite natural. Oddly, his subsequent career went nowhere. And Pierson, with his nasal rat a tat delivery of the barrack’s announcements is quite hilarious.

Robert Shawley as "Blondie" Peterson, "Stalag 17's" platinum twink!

Remember David Bowie as a WWII POW
in "Merry Christmas, Mr. Lawrence?"

On the downside, there’s two rather dud performances, but they’re not bad enough to hurt Stalag 17. Peter Graves is Frank Price, who’s in charge of barracks security. Graves is decent but not especially dynamic, which is why he never became a top star in movies or television. He was one of those actors, like Robert Stack, who acted with his voice, like a radio announcer. Don Taylor, dull as always, is Dunbar, one of the latest captives. You may remember him as the groom in the original Father of the Bride.

Peter Graves as barracks security, barely gets by in 1953's "Stalag 17."

Stalag 17 is a solid two hours, but moves at a good pace, especially impressive since it’s a filmed play, with most of the action taking place inside the barracks. Billy Wilder’s way with actors, expert storytelling, and willingness to push the envelope, all play to Stalag 17’s advantage.

I don’t like the war movie genre and yet I was mesmerized the entire time by Stalag 17. And I’m pleased to add this film classic to my classic film blog. And if you like my blog, click Follow for free! https://ricksrealreel.blogspot.com/

See the link below for an excellent copy
of 1953's "Stalag 17."

Here is an excellent, free copy of Stalag 17 to watch on YouTube:

https://www.youtube.com/watch?v=njcqwleu9kc

My look at William Holden’s breakout year as an actor here: https://ricksrealreel.blogspot.com/2022/04/william-holdens-golden-year-1950.html

Look who came to visit "Stalag 17," all the way from "Sunset Blvd.!" Norma Desmond herself, i.e. Miss Gloria Swanson. Maybe she wanted to see if Otto Preminger was interested in being her new butler!